In a recent interview, renowned filmmaker Johnnie To reflected on his illustrious career spanning over four decades, during which he directed around 70 films. As a cultural icon within the Chinese community, Hong Kong cinema flourished, producing hundreds of films annually that have become cherished memories for many generations and provided solace for immigrants longing for home. Many directors, including To, broke away from traditional styles to forge unique artistic paths.
To is currently featured in a retrospective at the Museum of Modern Art (MoMA) titled “Chaos and Order: The Way of Johnnie To.” The exhibition showcases 24 of his films, spanning nearly 30 years, including notable works such as “Exiled,” “The Mission,” and “Election.” His skillful arrangement, narrative techniques, and spatial usage allow audiences to perceive a sense of order and harmony, even amidst chaotic scenes.
Despite being celebrated in this retrospective, To insists that it does not signify a conclusion to his directing career. He maintains a passionate commitment to filmmaking, conceding that he finds it challenging to separate himself from the medium. He noted that he hasn’t released any new films in the past five years, attributing this hiatus to the changing environment in Hong Kong, which he feels has yet to be fully processed in his mind.
To emphasized that self-censorship has become unavoidable in the current climate. Following the implementation of the National Security Law, the government revised film censorship regulations, introducing national security reviews. At the Berlin Film Festival last year, where he served as a jury member, To commented, “Films are always at the forefront; if there is totalitarianism and people lose their freedoms, films often bear the brunt. Governments will remove local culture first, as film directly enters the audience’s hearts. That’s why dictators typically target films.”
The filmmaker acknowledged that these circumstances have influenced his work, but he remains unsure where the “red line” is regarding censorship. “As someone who has a deep affection for Hong Kong, I feel that the current environment is quite disheartening,” To reflected. Despite warnings to be cautious with his words, he strongly believes that good work must stem from authentic emotions; if a director is concerned about censorship, it undermines the creative environment.
Moreover, To expressed concerns for new directors struggling to find a foothold in an increasingly challenging market. He highlighted that investors are less inclined to support new talent, as they focus on expanding existing markets rather than nurturing emerging filmmakers. In light of the dwindling local scene, To ventured north to Mainland China in 2010 to direct films, but his box office success has not matched that of other prominent directors, raising questions about his adaptation to the new environment.
“I understand Hong Kong’s culture and its people better, which makes it hard to balance the preferences of mainland and local audiences,” To explained. His exposure to the Mainland industry revealed stark contrasts, including a lack of freedom of expression. He recounted a previous experience from 1986 when he directed a Henan Opera film under a pseudonym, realizing that collaboration was more forthright in earlier days when fellow filmmakers were willing to help without expecting anything in return.
Today, due to increased scrutiny and investor influence, To believes that the essence of creative expression has been overshadowed by external agendas. He used the example of a traditional Hong Kong tea restaurant to demonstrate how films should reflect daily life, lamenting that the city has become more subdued, with even vibrant areas like Mong Kok and Tsim Sha Tsui losing their former liveliness. “Cultural regression and economic instability are undeniable realities, yet even the government continues to make empty promises,” he remarked. “You don’t just suddenly create a street like Temple Street; it forms from the essence of life itself.”
To’s journey began at TVB, but in 1996, alongside his collaborator Wai Ka-Fai, he founded Milkyway Image as a response to a challenging period in the industry. His productions served to align with his creative vision, producing innovative films during a time of talent drainage. Audience members erupted in cheers when the Milkyway logo appeared at MoMA, a testament to the impact of his work.
To credits much of his directorial philosophy to Wai Ka-Fai, stating that many of his inspirations come from spontaneous moments on set, which ensures that Milkyway remains a bastion of originality. Even though he dropped out of school at 17, To engaged with a diverse array of films from Taiwan, Japan, and Europe, drawing influence from directors such as Hou Hsiao-hsien, Akira Kurosawa, and Jean-Pierre Melville.
In addition to his multifaceted narratives, To is known for capturing the emotional zeitgeist of his times, frequently exploring themes surrounding Hong Kong’s return to Chinese sovereignty. While he stated that he is not retiring, at 69 years old, he is clear about his intentions: “If I’m not passionate about a project, I won’t pursue it.” To expressed his desire to find a “happy film” and even considered relocating to a place that feels more suitable for his artistic inclinations.
